Tag Archives: EDUCATION

The Importance of Arts in Primary Education, by Ghislaine Kenyon

I’ve recently been spending time with opera singers – not as a punter in some fancy opera house, but as external evaluator for the Learning and Participation programme of Garsington Opera. Garsington does indeed have a ‘house’, a light-filled structure set in the gentle hills of the Wormsley estate in Buckinghamshire. And the people who attend operas on this main stage do dress up and picnic on the lawns; the audio is of clinking champagne glasses and refined chit-chat – ‘country-house opera’ in every sense.

But now imagine a day when the sounds echoing across those same lawns are those of primary age children playing, chasing, cartwheeling, taking over the space in a way that children offered such green expanses just do. It’s the interval of the OperaFirst performance of Fantasio – a comic fairy-tale romp by the 19th century composer Jacques Offenbach. And at the final curtain call the cast are greeted with Glasto-style whooping from the audience of 600 school children with their teachers. Parents waiting outside on pick-up duty can scarcely believe that this deafeningly enthusiastic response is to an opera – an art-form considered by so many to be elite and exclusive.

Let’s reel back a bit – this OperaFirst performance was much more than some worthy ‘take children to culture’ exercise of the kind that most publicly-funded arts organisations are obliged to offer.  (I’m not being critical here – an actual experience is better than none!) Instead it was the culmination of a serious bit of work by Garsington’s L&P department in local state primary, secondary and special schools: Fantasio was explored creatively in two intense days of workshops involving singing, stagecraft, composition and shared performance. As a former teacher observing these workshops, it’s clear that to me there’s a straight line leading from the skills of the creative teams working in classrooms to that rapture in the opera-house a few weeks later.  It starts with Karen Gillingham, Garsington’s  talented and charismatic creative director of L&P, who brings together a small and well-matched group of professionals for each school: a singer, a music director a stage director, and a vitally important L&P producer, who sorts out every practical detail from school liaison to sourcing a singer’s favourite lunchtime sandwich.

At Stokenchurch Primary School stage director Hazel Gould gets groups of Year 5 children to freeze- frame the emotional moments of the opera: ‘show me Princess Elsbeth upset at the death of her friend the jester, which happens on her wedding day to a man she’s being forced to marry by her father the king’  the creative and disciplined working situation has been so well set up by this time that the children speedily tackle this complex situation. At Milbrook Primary School, singer Charmian Bedford kneels on the floor and addresses one of the songs from the opera directly to the children sitting two metres away. It’s about that unwanted wedding day that she’s so dreading. One or two children giggle (as they put it, ‘singing really high, not like normal singing’) but most are open-mouthed, admiring, surprised. Music-director/composer John Barber helps children compose their own songs on this theme: ’we’re going to compose a song giving the princess some advice. Imagine you’re the princess’s maid and you know she’s making a big mistake agreeing to this wedding’.  A boy pipes up ‘My lady, I know that you want to keep the peace, but this prince might not be what you think he is’. This is how children (or anyone) can learn about the key elements of opera which are, very simply, story-telling through acting and singing. The OperaFirst does educate children about opera, of course, but, as I witnessed it, it also demonstrates more generally the power of an arts-rich curriculum in primary schools. The arts reach us because they address us 9781472961051emotionally. There’s nothing more motivating than that and it’s the reason why I, having worked both in schools and in the cultural sector wanted to, no, needed to write The Arts in Primary Education. By showcasing projects  such as OperaFirst and many other exemplary arts-based curricula in schools across the country I’m hoping that schools leaders who often for understandable reasons have left the arts as box-ticking, fringe activities, will find reasons to embrace them wholeheartedly.

Ghislaine Kenyon worked formerly as Deputy Head of Education at the National Gallery and then Head of Learning at Somerset House. She has curated several exhibitions, including Tell Me a Picture in 2000 with Quentin Blake. Her latest book The Arts in Primary Education is out now!

Explore the theme of migration with these Drama exercises for secondary students

With the subject of Migration Migration Playsbecoming more pressing and relevant in twenty-first century Britain, it is vital that we are able to have an informed debate about it, particularly with young people. Drama and performance can become a vehicle for those debates and feelings that we all have around migration.

Fin Kennedy’s new book, Migration Plays explores the theme of migration through four new plays. He explains the background to the book in his introduction here:

“Migration Stories was a Tamasha schools project delivered by playwrights and directors working in several different secondary schools in London and Derby. The format involved twenty-five Drama students from Years 7 to 10 coming off-timetable for a day and participating in exercises designed to unpack their thoughts and feelings on the topic of migration, and encourage them to respond creatively to what they were learning. These sessions were facilitated by the director, with the playwright taking notes. Each playwright then went away and worked up the ideas generated into a twenty-minute script for performance, with parts for the whole class.”

Migration Plays shares these plays along with director notes that you can use with your Drama class. This is then followed by a section of drama games and more involved exercises to generate characters and stories.


Two exercises to try today

Section 1: Exercises to unpack the theme of migration

Exercise: What’s in a name?

Set-up: Participants sit in a circle on chairs or the floor. This is usually the first activity of the workshop.

Teacher instructions: Invite everybody in the circle, one by one, to say their name. It can be their first name, their middle name or their surname. Then go round again and ask each student to share with the group one thing about their name. It could be one of the following:

  • What your name means.
  • Which language or culture is associated with your name.
  • Do you like your name?
  • Who gave you your name?
  • If you were a boy/girl what would you have been called instead?
  • What would you prefer to be called if you weren’t given your name?

Notes: Pupils generally respond very positively to this activity, especially if it is used as the first activity of the workshop. Most people like sharing something about themselves, but of course people can be given the option to ‘pass’. The teacher must be ready to positively respond to each name and to keep this activity flowing. We find that this activity inevitably brings up some migration references, and then these can be explored further in the subsequent activities.

Section 3: Improvisation exercises

Exercise: Creating obstacles and conflict

Set-up: Drama studio or cleared classroom. Whiteboard needed.

Teacher instructions: As a class, make a list of obstacles relating to migration, which might cause some kind of conflict for the migrant. Explain that obstacles and conflict are an important part of drama, because watching characters struggle to get what they want is how they learn and change. The best obstacles are often another character. Write their examples on the whiteboard. The list might include:

  • Assembling what they need for a long journey.
  • Applying for a visa.
  • Booking a boat ticket.
  • Saying goodbye to someone they love.
  • Finding suitable food.
  • Running out of money.
  • Preparing for an interview at the border.
  • Looking for work.
  • Finding somewhere to stay.
  • Meeting the locals.
  • Communicating with home.

In threes or fours, choose one obstacle and rehearse a short improvisation in which A and B are migrants engaged in this activity. C and/or D stands in their way and could either help them or block them depending on how the scene goes. The dialogue is about A and B trying to persuade C and/or D to give them what they want. Give the group five minutes’ rehearsal time, then watch a few.

After each scene, ask the audience:

  • What clues are in the scene about what the nature of the relationship is between the migrant characters?
  • What tactics do they use to try to get what they want?
  • How are they changed by the experience of dealing with this obstacle?
  • What might they try next?

Migration Plays is a Methuen Drama title and was published in August. Purchase your copy or request an inspection copy for your school here.

Ideas for Writing Original Material for Performance

Devising TheatreFor us, the theme or subject of the theatre we are devising always comes from an idea or question we have a direct relationship to or interest in. As a result the process of  material often requires us to draw from our own lives and experience and discuss our own opinions and personal points of view. In this way we also call it autobiographical. Devising autobiographical theatre in a collaborative way has led us to develop a number of different approaches to making original material. These are:

  • Writing Text
  • Movement and Choreography
  • Performance Images
  • Action
  • Music

When we are creating a new show we find that working in these different ways can help us to better understand our inquiry question from a variety of angles as well as allowing us to build a dynamic and diverse bank of performance material from which to choose. We also find that having a series of distinct ways to approach making material means that members of the group are able to work to their own strengths and area of interest. This allows each performer to utilize their individual learning style and find a form of creative expression that allows them a level of autonomy and ownership and the freedom to best communicate themselves and their point of view. In the past we have enjoyed watching young performers develop in new and unexpected directions as they experiment with different ways to create meaning and present themselves on stage.

Here are two new ways to use with your students when writing text for performance

Questions

Questions are our most favourite way to write text for performance. We love the act of asking questions because it feels so integral to who we are as human beings and our process of trying to understand the world around us. As theatre makers we are definitely more interested in questions than answers. Questions are possibilities. They open up our view of things and ask us to re-examine the way things are and the way they might be. Questions are action and dialogue and grappling with the complexity of things. It is actually impossible to find a show that we have made which does not contain at least one set of questions. They are knitted into the fabric of everything we do and everything we care about.

There are also multiple creative options as to how to place questions in a performance. You can ask questions to another performer, to one audience member or the whole audience in general or to yourself rhetorically. You can look for answers or leave the questions open as a text in themselves. The choices are endless.

Ideas for generating text from questions

  • Write a set of questions you have for someone in charge
  • Write a set of questions you have never asked
  • Write a set of questions you don’t know the answers to
  • Write a set of questions about big ideas
  • Write a set of questions about a subject you know very well
  • Write a set of questions you have about love
  • Write a set of questions for a friend
  • Write a set of questions for your family about you
  • Write a quiz on a specialist subject
  • Write a test for your teacher
  • Write a set of questions that do not have answers to

Letters

Letters can be an effective way to focus your ideas and explore your starting point from a particular perspective or point of view.  Letters also provide a creative way to bring something of the outside world into the performance. They can allow you to touch on the wider socio-political context of things or a lens with which to view a memory of a different time and place.

Letters can be found or sourced and brought into the rehearsal room; like a letter from a historical figure or a childhood pen-friend. They can also be written as part of the making process to allow you to explore the central inquiry form a different angle.

Ideas for generating text from letters

  • Write a letter to yourself when you were 5
  • Write a letter to yourself when you are older
  • Bring in a letter you received in the last month (bills/junk mail included)
  • Bring in a letter you have always kept
  • Write a letter you will never send
  • Write a letter to a celebrity
  • Write a letter to a stranger
  • Write a love letter
  • Write a chain letter
  • Write a letter to someone who can change things
  • Write a letter you wish you’d received

This was an extract taken from A Beginner’s Guide to Devising Theatre by Jess Thorpe and Tashi Gore. You can order your copy here.

Playing Shops: How Abie Longstaff wrote Cavegirl

There are six children in my family. I was the oldest and the bossiest, so I coordinated endless games to amuse my younger sisters. We stole Mum and Dads’ clothes for dress-ups; we pulled all the cushions off the sofa to make a gymnastics team; we even used the old wooden hostess trolley to sail away to sea.

sisters
Abbie and her sisters

One of our favourite styles of game was shops! There’s something about buying and selling that really appeals to children. I think it’s because it’s a basic form of transaction; one that’s easy to understand. Someone has an object to sell, the other offers to buy it. So as children, my sisters and I made pretend shops that sold sweets, or books or toys to one another. I saw this game continue in my own children – they loved making yard sales: setting up a little stall on the street to sell old toys or DVDs for pennies, helping at the school fair with second uniform or biscuit sales.

With my first books, The Fairytale Hairdresser series, I created a world of shops, where the Big Bad Wolf is an optician (‘all the better to see you with’), Little Bo Peep has a wool shop; and the Tooth Fairy is a dentist. My main character, Kittie Lacey, has a salon. The books celebrate entrepreneurship and creativity. This theme is evidently close to my heart because my chapter books, The Magic Potions Shop, also feature a shop! It’s funny how the things you loved as a child are brought out in the stories you write. On school visits I often tell children that the games they play, and the books they read will influence the kind of writer they’ll become, and I guess I’m proof of that.

With this new book, Cavegirl, I’ve taken the idea of buying and selling back to Neolithic times – the late Stone Age. The Neolithic period (very roughly 8000 to 3000 BC) was an era of change. Societies had begun to develop; communities living in fixed shelters, farming crops and keeping livestock.  Clothing was made of animal skins, and stone was fashioned into tools or weapons. Settling in one place allowed time for creativity, in the form of pottery, cave paintings and jewellery. On a trip to the UAE to see schools, I was lucky enough to visit the Mleiha Archaeological Centre, which displays ancient artefacts from the Stone and Bronze ages, including arrowheads, axes, tools and fireplaces excavated in the surrounding area. Some of the region used to be underwater, and I was even taken to see ancient seashells embedded in the Desert Mountains.

ancient sea
Ancient shells in the desert rock

The trip really inspired me to set a story in this period.

In those days, a barter system was in operation; goods such as weapons, pottery and copper were traded. Trade is the most basic form of commerce – one that children practise every time they swap a sticker or a trading card.

In Cavegirl, I wanted to play with the game of buy and sell in its purest form, but I wanted to add in entrepreneurship and creativity. I wanted my character to adapt the object she swaps, enhancing its value each time. In this way she moves up the ladder of trade, aiming to purchase the perfect birthday present for Mum. Only – it doesn’t all go to plan.Cavegirl

Abie Longstaff is the eldest of six children and grew up in Australia, Hong Kong and France. She knows all about squabbling, chaos and bossing younger sisters around so she logically began her career as a barrister. She started writing when her children were born and lives in Hove with her family. Abie writes for children from picture books to older fiction and is best known for the Fairytale Hairdresser series. Her latest book Cavegirl is out now!

How to Increase Poor Behaviour in Schools

Oversized classes

Clear research has shown that the ability of the teacher to teach reduces in relationship to the increase in the size of the class. This of course is an obvious correlation. Indeed, it has been suggested that teacher’s effectiveness increases rapidly as the class sizes go below 20.

Questions to ask are how then do teachers in schools with high pp percentages manage to both control and teach large classes? Particularly considering the increase in the numbers of children with SEMH. The evidence for this may be seen in the significant increase in exclusions in primary schools.

Reduced support services

Over the last 10 years there has been a significant drop in the support services available to schools in relation to children with SEMH.

  1. The increased cost of advice from the schools’ psychological service, coming out of an already squeezed school budget
  2. The admitted failure of both PCAMHS and CAMHS to respond significantly to school’s need for advice with more severe SEMH children, and the lack of long-term commitment to those pupils
  3. The reduction of teacher outreach services (BSS) for teachers and schools struggling with the more profound cases of mental instability and behavioural dysfunction
  4. Lack of quality social support services for schools struggling to manage severe pastoral problems
  5. The inconsistency of the hub system, often creating more problems than they solve

Inadequate analysis of behaviour

  1. Lack of appropriate tools for objective measurement of behaviour patterns of children and groups
  2. Lack of clear and reliable record keeping of incidents

Ineffective Insets on behaviour management

  1. Lack of available knowledge in the school to enable differentiation of presenting behavioural symptoms displayed in the school setting
  2. The virtual absence of appropriate targeted in-service training, on the management of children and carers presenting significant mental health problems.

Inadequate curriculum content

With a narrowed curriculum driven by league tables etc., schools now reduce the amount of time given to the more creative subjects. As a consequence, the more difficult children miss out on areas they may be more competent in, compared with more academic subjects, resulting in poor academic self-image. Research shows clearly that this poor academic self-image correlates strongly with poor pupil behaviour.

Insufficient differentiation

  1. With increased class sizes, differentiation is more complex and as SEMH pupils are often below average, they rarely succeed in the more academic subjects
  2. Differentiation can sometimes mean differentiation by outcome; creating a sense of failure reinforcing poor academic self-image

Insensitivity to pupils’ social dynamics

  1. Because of their behaviour, SEMH children are more likely to be isolated, or form dysfunctional negative groupings. As a consequence, their lack of inclusion causes significant difficulties for the teacher to manage
  2. Paradoxically, outside the classroom, these children have a very high self-image, but when that is exposed to the learning environment the pupil is conflicted, which challenges their self-image and consequently creates significant difficulties

Inconsistent behaviour management in school

  1. If there is inconsistency in adult’s responses to both good and bad behaviour, these sensitive fragile children are confused and consequently their behaviour becomes erratic.
  2. This is particularly evident in areas of free association and movement around the school where rules of conduct are not consistently applied by all managing adults.
  3. Research has shown that clear leadership built on sound and clear ownership by all staff regarding behaviour management significantly reduces behaviour problems.

In this field, so often the child is defined as the problem. However, this may not always be the case. Schools and individual teachers should constantly reassess the success or otherwise of their performance and strategies. Always keep in mind that the school experience of these very unfortunate children may be in sharp contrast to their environment out of school.

I would warn against punitive methods, because only through consistent co-ordinated positive reinforcement will many of these kids see the light of approval, giving them an opportunity to re-assess their own value, and take ownership of their own behaviour.

9781472961617

 

Roy Howarth started his teaching career in London working in comprehensive education, remand homes and a 50-bed school for profoundly disturbed adolescents. He was then Headteacher at Northern House Special School in Oxford for over 20 years and now works in primary schools as a general advisor on both class management and behaviour management plans for individual pupils.

For 100 strategies to improve behaviour, Roy’s new book 100 Ideas for Primary Teachers: Supporting Pupils with Social, Emotional and Mental Health Difficulties is out now!

 

 

 

Beautifully Bilingual

I am lucky enough to have grown up within a large extended family rich in language and culture. My father was born in Portsmouth, Southsea with a ‘traditional’ mother and father in the sense that they sat down every Sunday for a roast lunch and forced my dad to attend church even though they never actually went themselves! My mother was born in Nairobi, Kenya and came to England where she met my dad at university and the story goes (as my dad likes to tell it) that my mum was something of a mysterious Indian beauty amongst the students and by the time my dad realised she wasn’t a rich, Hindu princess, they had already married!

My sister and I spent a lot of our school holidays either at my Nanima’s house playing with my cousins or at an Indian wedding, which seem to happen every other week! Hindu weddings are beautiful! Full of music, colour and dancing. And whilst I loved every minute of it, I barely understood anything that was happening as it was all spoken in Hindi, Guajarati or Urdu. As my Nanima also barely spoke any English and my mum herself spoke five different languages, it was decided that I should attend Saturday school and learn to speak, read and write Gujarati. I suddenly found myself in a new environment where I couldn’t understand what anyone was saying or read the workbooks or make friends, as most of the other children either spoke to each other in Gujarati or Hindi. I went home to my parents so upset to be out of my comfort zone that after a few meagre weeks, I eventually quit – something I continue to look back on regretfully.

Urdu

(Me (in the blue dress) and my beautifully bilingual family at my sisters English/Hindu wedding)

When I give training about teaching children with English with an additional language, I like teachers to experience first-hand what it is like for children new to English by asking them to follow simple instructions given in another language. The feedback is always ‘enlightening’. Imagine yourself in a new country, where you don’t know the spoken or the written language, the culture, the routines, the traditions. How would you navigate? How would you know where the toilets are? Or how to ask for help? This is what it is like for all children with EAL. On top of that, they would be dealing with getting used to having left their old familiar school, home, friends and possible family members – that’s a lot for any adult to deal with, let alone a child.

My advice to teachers is this: do your research! If you know you are about to have a new pupil, try and meet them and their parents beforehand (home visits are great for this). However, as we all know, sometimes you don’t have time to do this and a child suddenly appears in your class first thing Monday morning with no warning or information. So, make the time! Arrange to meet parents as soon as possible, consider that they might need an interpreter too. Find out basic information about the child; how do you pronounce their name? How much English do they understand? What do they like doing? Do they have any dietary requirements? Where are they from? (In Thailand, the head is considered to be the most sacred part of the body and so you should never touch their heads and in some Asian, African and Latin American countries it is deemed disrespectful to look a member of authority such as a teacher, in the eyes). Are they religious? How do you say key survival words or phrases such as toilet, lunch, home, sit, stand, coat on etc?

It is also important to make sure that children with EAL aren’t categorised as being in a low ability group or SEN group (although it is useful to find out from parents if they are concerned about their child’s development or speech in their home language). Many teachers can often mistake a child with EAL’s ‘silent’ phase as being SEN when actually they are simply watching, listening and observing.

An aspect of planning that I often see in schools is where teachers differentiate for ‘SEN/EAL’ – that’s not to say that you might use similar resources e.g. visual aids, but for many children with SEN they need lessons that are broken down in manageable steps and need to take in consideration sensory and physical needs. When working with children that are new to English, you should be thinking about pre-teaching key vocabulary in the form of games and fun activities, repetition, gestures, buddying up with another child or adult that may be able to translate.

My mum was one of the first EAL consultants in Croydon and she would go into schools and support teachers through training, observations and in-class support. Unfortunately today, due to our ever increasing cuts in all things related to the public sector, specialist consultants are few and far between. The feedback I often get from NQTs is that supporting children with EAL is barely covered in teacher training despite this being an area that the majority of new teachers struggle with.

I wanted to create a resource for Early Years teachers that was easy to access and not too ‘wordy’, understanding that teachers’ time is limited. I always loved the ‘50 Fantastic Ideas’ series because it let me dip in and out for new ideas and the activities were usually easy to resource and fun to do. So, I decided to write 50 Fantastic Ideas for Children with EAL. I tried to design the games and activities so that you would use them not as a stand-alone intervention for children with EAL because, as we all know, our time is stretched, but instead you can use them with a whole class or in small groups with children that might need encouragement to build relationships, to enhance their speech, to help with 9781472952639.jpgconfidence and to develop respect and knowledge of other cultures and customs. I recently hosted a network meeting for teachers in Southwark on how to support children with EAL in the class. Afterwards, one of the EYFS consultants said it was one of the highest attended meetings they had held which proves that it continues to be an area where even the most experienced teachers want help in. I hope that my book goes a little towards easing this need.

 

Natasha Wood has worked in the Early Years for nine years and has built a great breadth of knowledge in child development and play. Her latest book, 50 Fantastic Ideas for Children with EAL, is out now!

Why the Golden Horsemen Came Riding

Growing up, I knew almost nothing about Baghdad and the Middle East except that an author there had written the 1001 Nights, or the Arabian Nights as my Year 4 teacher used to call it. It’s a wonderful anthology of fairytales that has filled the heads of many a child with the notion of flying carpets, thieves hidden in wooden barrels, genies and magic lamps. I received the Bancroft Classics edition for my eighth birthday, which I re-read endlessly. No author was credited with the work on the front cover but I hardly noticed. I devoured the Sinbad films on telly too, especially the Ray Harryhousen versions which had incredible special effects. But of the real Baghdad, I remained mostly ignorant.

In my teenage years, the Middle East started to feature on the news, but nearly always shown in a bad light. Uprisings and terror attacks flickered across the television screens. News reports showed tanks lumbering across deserts, flat-roofed houses being blown up, grim-faced youths hijacking planes. Not surprisingly I never connected those images with the magical lands of ‘Open Sesame’ and delicious lakoum.

Fast forward a few decades and I am doing an author visit at a school in Bradford where I lived for over ten years. Most of the children were of Pakistani and Indian origin. It was a warm day and we were eating our lunch out in the playground. We got to talking about our most cherished wishes. One boy said in a broad Yorkshire accent, ‘my biggest wish is to go truffle hunting with my father in the Afghan mountains.’

It turned out the boy’s father was Afghani. Trapped in the fraught and long-winded process of sorting out his immigration paperwork, he still lived in Afghanistan. The son visited once a year but never during the truffle hunting season.  It was a Eureka moment for me. It brought images of a magical Middle East flooding back into my head. Not the clichéd magic of genies and flying carpets, but the enchantment of real life still tied to the land and the seasons.

I started reading up on life in Middle Eastern countries, now and in the past and I fell for its charm all over again. Baghdad especially drew my interest. Based around the ‘beyt al Hikma’, meaning ‘house of knowledge’, a world-famous library built in the 9th century, it established itself as a world leader in the arts, science and innovation.

As I started sharing my discoveries in my talks to schools, I learnt that most children, even those of Muslim heritage, were unaware of Baghdad’s glorious heyday, of its massive contribution to the worlds of science, mathematics, medicine, poetry and translation. Without its scholars and their mentors, including the powerful caliphs who built the libraries and schools, much of the writings of the ancient world would now be lost forever.

9781472955999.jpgToday the Golden Age of Islam is part of the National Curriculum in KS2. It’s the perfect opportunity to explore the real history of a culture we in the West so often overlook. My book The Golden Horsemen of Baghdad was written to accompany the subject. Like my other works for Bloomsbury Education, it’s a rollicking adventure but it is also packed with information and insight into the culture and the period. I hope you all enjoy it.

 

The Golden Horsemen of Baghdad is bestselling historical fiction author Saviour Pirotta’s latest novel. Out now!

‘IF’ For Teachers by Joshua Seigal

“I was inspired to write this poem during a workshop I ran for students, in which we looked at Rudyard Kipling’s famous poem ‘If’. I asked them to have a go at writing their own versions of the poem, based on their ideas about what constitutes an effective leader. I decided to give it a go too, and this is the result. Enjoy!”

If you can keep your voice when all about you
Are using theirs to bellow over you;
If you can dish out rules when all kids flout you
But see the humour in their flouting too;
If you can care and not get tired of caring
Or, being dissed, maintain a steady poise,
Or, being sworn at, not give way to swearing,
And see the stillness in amongst the noise;

If you can plan but not make plans your mistress;
If you can chill and have a nice weekend;
If you can still take care of all your business
And not let children drive you round the bend;
If you can bare to see the gifts you’ve given
Received by ingrates with a sullen grunt,
Or feel the fuel diminish, but stay driven
And smile when the Head is being a…difficult person to work with;

If you can make an ally of a parent
And both look out for what you think is best
For Little Johnny when he has been errant
And hasn’t done his work or passed his test;
If you can force your brain and heart and sinew
To teach the things that Ofsted says you should,
And so make sure the governors don’t bin you
And that the school maintains its place as ‘Good’;

If you can talk with yobs and keep composure
Or plug away when they don’t give a damn;
If you can act when there’s been ‘a disclosure’
And not display the news on Instagram;
If you can keep calm while you have to wing it
With sixty minutes worth of ‘drama games’,
Yours is the class, and everything that’s in it
And – which is more – you might not go insane.

capture-2

 

For more content from Joshua, follow him on Twitter or visit his website.

 

WHAT WOULD YOU ASK A POET?

How do you teach poetry?

Haven’t a clue – but I can tell you about some  really exciting poetry activities you can do with KS2 classes…

READ YOUR CLASS A POEM every morning. Every single morning. I know lots of KS2 teachers that do this and they say the results are manifold.

PUT ON POETRY CONCERTS/ASSEMBLIES – try whole classes performing poems such as Boneyard Rap (Wes Magee), Gran, Can You Rap? (Jack Ouseby), Little Red Rap/I Wanna Be A Star (Tony Mitton), Talking Turkeys (Benjamin Zephaniah), How To Turn Your Teacher Purple (by me..woops.).

twgsc-twitter-imagesv2-2WRITE POEMS AS PART OF YOUR CLASS TOPICS – poetry modules are great, but nothing beats writing poems for a real purpose – creating poems that express a subject matter that a class is enthused about and fully immersed in. Try shape poems (rivers, mountains, volcanoes, planets), kennings ( Ancient Egyptians, Greeks, Romans), haiku ( rainforest creatures, sea creatures), and best of all free verse (memories, real events) – children too easily get stuck in the rhyme rut. And you don’t need to be an expert in all the various forms of poetry – just knowing a few is absolutely fine!

PUBLISH CHILDREN’S POEMS around the school, in the hall, on the school website. And I’ve noticed that children love nothing more than having to take a brand new poem of theirs to show the headteacher!

FIND A RANGE OF POETRY BOOKS – single poet collections and themed anthologies. Set up a poetry corner or poetry book box. Public libraries always have a great selection of contemporary children’s poetry titles – and Oxfam bookshops too are usually good for poetry.

PUT UP POETRY TREES IN THE CLASS/HALL – featuring poems by the children, or the children’s favourite poems.

PHOTOCOPY POEMS and put them all over the school, down the corridors  – even in the lo0s!

HAVE A STAFFROOM POETRY READING one lunchtime. Share adult or children’s poems you like.

INVITE A POET IN … why not? A poet will model how to read/perform poems to an twgsc-twitter-imagesv2-1audience, as well as how to run poetry writing workshops in a classroom.

What advice do you have for teachers?

Apart from buying my Bloomsbury teachers’ book Let’s Do Poetry In Primary Schools! as well as multiple class copies of The World’s Greatest Space Cadet (sorry, that was cheeky! ) – and apart from the activities I have recommended earlier, I would say just go for it. And maybe find a teacher in your school that enjoys doing poetry with her/his class. Find out what they do, and what the results have been.

Quite a number of teachers I’ve met in the hundreds of schools I’ve visited over the last few years have said how much poetry has truly revitalised their English teaching, and got the boys in their classes really motivated. What not to like?

And even if you don’t especially like poetry yourself – and you don’t have to – simply try and source some poems and poetry activities that your class could have fun with and be stimulated by. You might be pleasantly surprised by the results. Enjoy!

book-launch-3-002An award-winning children’s poet, James Carter travels all over the cosmos (well, Britain) with his guitar (that’s Keith) to give lively poetry performances and workshops. James once had hair, extremely long hair (honestly), and he played in a really nasty ultra-loud heavy rock band. And, as a lifelong space cadet, James has discovered that poems are the best place to gather all his daydreamy thoughts. What’s more, he believes that daydreaming for ten minutes every day should be compulsory in all schools.

The World’s Greatest Space Cadet by James Carter is available to buy here 

Follow James on Twitter @JamesCarterPoet

www.jamescarterpoet.co.uk

How I became interested in Geography….

Stephen Scoffham, one of the authors of Teaching Primary Geography, reflects on what geography means to him and how he became interested in it.

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What is it that first attracted me to geography?  The simple answer is that I don’t really know. Some people seem to have a clear idea of what they are going to do in life from a very early age.  They want to be doctors, or vets, or to make lots of money in business.  I remember, as an infant, being asked what I wanted to do as a grown up.  I couldn’t really think of an answer but wriggled uncomfortably on my bottom instead.  ‘I want to be a train driver’ I finally blurted out without much conviction.  Fortunately, the teacher, Mrs Brown, seemed convinced.  In those days, when the railway engines were still driven by steam, being a train driver was a glamorous enough job which appealed to young boys.

Thinking back, perhaps it was looking at maps as we went on holiday by car which made me interested in geography.  And planning trips in the countryside must have nurtured my interest in the physical environment.  Also, my father, who was involved in planning in his role with the Local Authority, probably passed on his interest in design and architecture.  I know it sounds a bit naff but I remember enjoying colouring in maps and diagrams in my work at school.  At one point as an adolescent I spent a few weeks making a relief model of India during a spell of illness and forced convalescence.  This was a great hit and the geography teacher was delighted.  My model was proudly displayed on the wall of the geography room for quite a number of years after that.  No doubt it was discretely cleared away some time later when the builders came to redecorate. Anyway I don’t know what happened to it.

I studied geography at ‘A’ level (it wasn’t very well taught and I didn’t enjoy it that much) so I decided to branch out at university.  I opted for a general course which combined a number of subjects.  This was a bit of tricky balancing act as it meant switching from one topic to another and I didn’t have enough background knowledge to make sense of everything I was learning.  However, after three years I ended up with a sound degree and a specialism in philosophy and history.  Not a hint of geography at this stage.  Just a broad grounding in humanities which played to my interest in making links and connections.  I’ve been developing this way of thinking ever since.

On graduating I worked as a primary and secondary school teacher before becoming the Schools’ Officer for an Urban Studies Centre (community study base) in an historic town.  At the same time, I developed a career as a self-employed author of teachers’ and children’s books.  I gradually realised that my interest in the urban environment and outdoor learning was steering me towards geography.  I was also lucky enough to develop a long-term partnership with two local head teachers.  We began by working together on materials to support active learning in the school environment and immediate surroundings.  Then, after banging on many doors, we were appointed as consultants for a new school atlas series just as the National Curriculum was coming on stream. I moved into teacher education soon after that.  It has proved to be a wonderful and supportive professional environment ever since.

This latest book, Teaching Primary Geography, is also the result of a collaboration.  I first met the co-author, Paula Owens when she was a student in initial teacher education and we have both been deeply involved with the Geographical Association ever since.  Sharing ideas with Paula has been a really stimulating and creative process.  I always think that two minds are better than one and we are particularly proud of the way we have found ways to include sustainability and British values in each of the different areas of study.  We are both convinced that the curriculum needs to address contemporary issues.  Hopefully you will be too as you read through our ideas and suggestions.  Do let us know what you think.

pc403rzd_400x400Dr. Stephen Scoffham has published widely for schools and teachers in the field of primary geography. He is the editor for the Geographical  Association’s Primary Geography Handbook (2004, 2010), chief  consultant/author for the Collins Junior Atlas, UK in Maps and World in Maps and joint author of the newly issued Collins Primary  Geography textbook scheme. In 2014 he won an award for his work on  devising and Teaching Geography Creatively (Routledge), a  resource book for teachers.He is currently based at Canterbury Christ  Church University where he is a Visiting Lecturer in Sustainability and Education. You can follow him on twitter @StephenScoffham

tty7hjr7_400x400Dr. Paula Owens is an education consultant and author. Along with Stephen, she is the co-author of Bloomsbury Curriculum Basics Teaching Primary Geography. Her career has spanned teaching and leadership in primary schools and curriculum development lead for the Geographical Association. You can follow her on twitter @Primageographer

Bloomsbury Curriculum Basics: Teaching Primary Geography is available to purchase here